GCAP (Game Connect Asia Pacific) 2017 Day 1
I’m in Melbourne for GCAP and PAX Australia, and GCAP started today.
Sadly things were cut short by me BREAKING MY WHEELCHAIR in a DOOMED QUEST FOR A SMOOTHIE. I got a replacement, but it was a hassle and I needed to go rest afterwards. But what I saw of GCAP was good!
Below: descriptions of talks by Steve Gaynor and Karla Zimonya (creators of Gone Home and Tacoma) and by David Gaider (narrative designer on Dragon Age), plus misc other conference things.
There were three introductions, all about How Great The Melbourne Games Scene Is and how Everyone Is Friends And Awesome.
Keynote: Steve Gaynor and Karla Zimonya from Fullbright Games: The names didn't mean much to me but then I realised THEY'RE THE PEOPLE WHO MADE GONE HOME AND TACOMA :D
The theme of GCAP this year is The Ripple Effect, and the theme of this talk was how people connect and affect each other.
Steve and Karla met as part of the team for Bioshock 2. Karla was a researcher, and Steve a level designer, and when they were in those roles they didn't interact. But they both finished their assigned tasks and asked around for other things that needed doing, which led them both to the massive task of writing all the little bits of extra dialogue around things like what enemies say when they attack, flavour text on objects, optional little stories told through random audio diaries etc. They made a great team (Steve as writer and Karla as editor) and got really into it. I think you can totally see how this grew into their later approach to games.
The company 2KMoran being willing to let them develop like this was part of them being a good company, with many ex-employees who have gone on to make interesting games.
Steve then got to design his own DLC, and went I MUST BRING IN KARLA. And after they did that, and Bioshock 2 was done, they created Fullbright and started working on Gone Home.
At some point Steve encountered some cool Bioshock fanart and became mutuals with the artist on twitter. Since she was a lesbian, he asked her if she'd be up for discussing things to help with the game. She brought along her wife for an extra point of view. The wife turned out to be a 3D artist, and both of them ended up hired to work on the game.
David Gaider: Creating a World and Making it Stick
So this was like 50% general advice and 50% morality tale about the Hubris Of The Writer Who Thinks His Worldbuilding Stands Alone.
Basically he created all the basic Thedas worldbuilding by himself, then told the rest of the team, and worked with his writers, and never checked in to make sure the game worked as a whole until it was Far Too Late.
He was trying to create a relatively grounded, dark, realistic story...and the art team was making orcs and bikini armour. He had lore about the mages being too oppressed to learn offensive spells or do anything flashy in public, while the gameplay team was implementing fireballs, and specialisations like Reaver which were not connected to the worldbuilding at all. And by the time these incompatibilities became apparent everyone was committed and refused to budge. So the final game is a hodge podge of inconsistent parts that all make sense individually but don't fit together.
Now my general notes:
He scrawled out the original Thedas map on paper the same way he would for a D&D game (his original draft looked very Middle Earth-ish in style), expecting someone who knew geography would go through and fix the rivers at some point. They did not.
One lesson he learned is that you can't just throw pages of worldbuilding at people and expect them to both read and be engaged with it. You have to have a "razor", a short description of the core of the game, and make sure everyone understands what it is. Anything that doesn't fit the razor gets cut. For example, DA2 had themes of The Price of Freedom, Family, and All Things Change. And you have to sell them on why your worldbuilding elements are interesting, and what makes them cool. Once the art team understood what darkspawn were they got invested and redesigned them to not just be orcs.
Remember to feel: Don't just come up with the history of your city: what is it like to visit, is it loud and friendly and sunny or oppressively silent?
Pick your battles: choose the parts of your worldbuilding you really value and emphasise those, be willing to let the others go, especially if it’s to follow changes that make the game more fun. The game being fun is the final aim, your worldbuilding is just a tool to get there.
He got confused by his cursor a lot :)
One good thing about the DAO worldbuilding is that he didn't know where it would be set at first, so worked out all the history for everywhere, and that added lots of depth.
Names are the devil, totally subjective so everyone argues about them and hates any new suggestion. Many names for DAO were bandied about, like "Chronicle". He has a rule to never put Shadow, Dark or Blood in a list of possible names or the publishers will go THAT ONE.
His two rules: 1) People aren't allowed to complain about a name unless they have a better suggestion. 2) Wait six months. Chances are people will be used to it and not mind any more.
When the Grey Wardens were first suggested they were supposed to be pretty minor, based off the rangers in Tolkein. So they got named the White Rangers, but that was too similar, so White Wardens, but that wasn't morally grey enough, so: Grey Wardens! Which was fine until they turned out to be important, people suggested "cooler" names like Blood Knight Brotherhood/Lords of War/Disciples of Pain (not sure if he was joking) but he waited six months and took a vote and lo, the old name stuck.
Track your changes.
Have an elevator pitch (not the same as the razor) If you can't come up with one your concept needs work.
Question your biases. He was originally inspired by Middle Earth and D&D, and his own ideas of Medieval Europe...all of which are way too white. Some of this could be fixed in later games, but the world he created closed off a lot of possibilities (he didn't say any examples but I guess he meant, like, Africa and Asia equivalents)
When he took inspiration from Jews and Romani for the elves he thought he was being very clever, and only later realised that this created all sorts of unfortunate implications, since now anything that happens to elves seems like a statement about those cultures.
He was happily surprised to be able to include bi characters in DAO.
The writers were all pretty happy with how they'd handled gender in DAI, then the Voice Over person was like "why are the vast majority of our lines for men?" and they realised they'd all made most of their background characters men for no reason.
At the start it's hard to walk the line between a long, boring, exposition heavy intro, and players getting confused by lack of explanation. (It felt like he wished players would just be smarter lol) He said "If DAO had started at Ostagar then the PC's backstory would have felt irrelevant" which made me think "So like DAI?".
Players have to know why to care about an event before it happens, or the emotional reaction will fall flat.
When you introduce the first member of a group, they should be fairly typical so the player gets a feel for the default. For example, Sten is a pretty typical Qunari. Only after that can you introduce outliers like The Iron Bull.
Every main character the player interacts with (for a RPG, the party members) should represent a different interesting facet of the worldbuilding.
They didn't think DAO would get sequels, and thus had those wildly differing epilogues. He isn't sure he'd change letting the player died, since it was a cool moment. But it was certainly inconvenient to deal with later.
They had a rough idea of how the history of Thedas would continue after DAO "but no plan survives contact with the enemy, in this case I guess that's EA" loll
Having player decisions affect so much has been a bit of a nightmare.
Card tricks in the dark: if you do something clever and the player doesn't notice, it doesn't matter.
If the enemies drink potions and it's not obvious they're doing it, it just looks like the AI is cheating. If a choice affects the plot but this fact isn't made clear, players will just think that's how the plot always goes. Need to heavily lampshade that this is the consequence of that choice. And keeping track of all the possibilities gets ridiculous with characters like Alistair, who can be any one of dead/king/a drunk etc.
The players who DO pay attention to these changes tend to want way more reactivity than is practical. So nobody is impressed. And most new players found the save game editors confusing and off putting. He thinks perhaps it would be better to have a smaller number of major choices.
He's not going to judge other writers but the HUGE changes at the end of the Mass Effect trilogy mean they can now no longer set anything in that galaxy again.
Question time!
Something about the process leading to Krem being written. He talked about the bad stuff previously, and them realising they'd screwed up. A trans fan on the forums said "Could we have a trans character who isn't a sex worker or the butt of a joke?". They got jumped on, but the team read it and went "Oh."
Gaider wrote Maevaris in the comics, talked to a trans woman friend about it. One of the other writers was working on Kress...*audience shouts KREM* and he seemed a bit boring so he got made trans, since it added some interest and fitted in well with the worldbuilding about the Qun etc.It would have been better with a trans voice actor but they couldn’t find one.
What program is best for explaining stuff to the art team etc early on: Biowre had a sort of Grey Box level for playing through choices, but something like twine is good, just to test pacing. (not sure this actually answers the question asked)
Are there any genres you would like to work on but haven't: Yes :D :D But he can't tell us about it yet :D :D
He got sick of high fantasy after ten years. Would look longingly at Mass Effect sometimes just for a change but then they would implode and he'd think"Actually I'm fine".
Off the top of his head: Victorian London, finding husbands for your girlfriends while fighting zombies and also it's a Western?
Misc other things: I didn't make it to any more talks because Wheelchair, but met some cool people, and played some of the student games on display. My favourite was a time travel murder mystery called Lacuna where you have to connect clues. Apparently I was way better at it than most people :D I also actually enjoyed one of the puzzle platformers (I forget the name but it's about a little grumpy blue hexagon), which is a pretty big achievement.
GCAP has a "food intolerances station" with special food options and knowledgeable staff which was pretty great. Morning tea was just various gluten free biscuits, but for lunch there was poached chicken and salmon and various plain chopped vegetables, as well as dressed salads and gluten free bread and dessert. I could eat about 1/3 of it which is pretty good odds, I ended up happier than my partner who doesn’t have as many intolerances but just didn't like any of the food options.